Labels > Cam Jazz > Scott Colley > Architect Of The Silent Moment

Scott Colley

Architect Of The Silent Moment

Cam Jazz CAMJ 7793-2

Item: full_album_8024709779328_CD

Artists :
Antonio Sanchez ( Drums )
David Binney ( Alto Sax )
Craig Taborn ( Piano, Keyboards, Hammond )
Jason Moran ( Piano )
Ralph Alessi ( Trumpet )
Scott Colley ( Bass )
Adam Rogers ( Electric And Acoustic Guitar )
Gregoire Maret ( Harmonica )
Release date
Jan 17, 2007

Architect of the Silent Moment is bassist Scott Colley's first album on CAM JAZZ.

"...Colley's distinctive blending of electric and acoustic instruments, unusual forms and meters, and novel grooves clearly marks Architect as a product of the new millennium..." (D. Ake)

"...Colley is the kind of cat that defines jazz and moves it forward. A skillful, well textured date, Colley makes music that sings, zings and swings with none of the stultifying moldy fig laquer that holds too many cats like him back. This is the kind of date you're still going to enjoy digging out a decade from now as well. Hot stuff." (C. Spector)

Recorded in New York in December 2005 at Sear Sound Studio
Recording engineer James Farber

Liner notes by David Ake

Photos by Chris Drukker


SCOTT COLLEY architect of the silent moment
Colley is a bass player that has more than earned his spurs. Interning with the greats, recording profusely and being the kind of cat you can say plays in the tradition of Dave Holland without feeling like you have to roll your eyes back into your head, Colley is the kind of cat that defines jazz and moves it forward. A skillful, well textured date, Colley makes music that sings, zings and swings with none of the stultifying moldy fig laquer that holds too many cats like him back. This is the kind of date you're still going to enjoy digging out a decade from now as well. Hot stuff.
31/12/06Midwest Record RecapChris Spector
Architect of the Silent Moment
The bassist Scott Colley plays with a warm, singing tone and a nimble touch when briskness is required. On his sixth album as a leader he traffics mainly in ostinato — most of his bass lines are asymmetrical, hypnotic and harmonically static — while his ensemble floats purposefully above him.

Mr. Colley seems intent on showcasing his compositions, and in that regard this album is a handsome success. It’s also a useful gauge of the interests now gripping an increasing number of post-post-bop musicians: long-form ensemble writing, rippling dynamic fluctuations and a moody equipoise rooted as much in rock and classical minimalism as in jazz.

Songs like “Strip Mall Ballet” and “Masoosong” unmistakably evoke the Pat Metheny Group, and not just because of the presence of the adroit Antonio Sanchez (on drums) and the charismatic Grégoire Maret (on harmonica), two present members of that group. Elsewhere the trumpeter Ralph Alessi expertly carries off Mr. Colley’s slippery melodies in conjunction with the keyboardist Craig Taborn; at times the alto saxophonist David Binney and the pianist Jason Moran lend a hand. Free improvisation crops up bracingly but fleetingly, like a bout of airborne turbulence between cruising altitudes.

As a title “Architect of the Silent Moment” implies calibration as well as introspection, which is apt, since Mr. Colley engages in both at once. That the result never gets oppressive is a credit to the band, which brings fluid movement to his designs.
29/01/07The New York TimesNATE CHINEN
Architect of the Silent Moment
If an artist is the sum total of his experiences, then Scott Colley’s reach is nearly limitless. In twenty years the bassist has appeared on nearly 150 albums, ranging from mainstream work with Jim Hall and Carmen McRae to more left-of-center projects with Andrew Hill and Greg Osby. His own releases have been migrating towards a more expansive viewpoint. On Architect of the Silent Moment Colley brings together a collection of players who share his appreciation for what’s come before, but are just as concerned with what’s to come. His core quartet features two artists who, despite considerable critical acclaim, have yet to achieve the greater recognition they deserve. Trumpeter Ralph Alessi is a consistently adventurous player who, with a rounded tone, lyrical disposition and unforced technique, rivals the better-known Dave Douglas. The increasingly ubiquitous Craig Taborn is an equally instinctive keyboardist whose roots in the tradition are often obscured by his bold and unrestrained mind-set.

Antonio Sanchez, best-known for his work with guitarist Pat Metheny, is a malleable and increasingly in-demand drummer. He’s established himself with a broad and stylistically expanding discography in the last decade.

All three are as capable of tackling complex compositional constructs as freer flights of improvisation, and Colley challenges them on both fronts and more. Colley is a fine bassist, with a Dave Holland-like ability to make even the most challenging of shifting meters groove viscerally. But it’s his writing (all but two pieces here are his) that makes Architect of the Silent Moment stand out.

“Window of Time” is a good example. It starts out in an open-ended modal fashion, with Alessi and saxophonist David Binney (a co-producer who leaves his own unmistakable signature) delivering Colley’s knotty theme. Alessi’s solo builds over an increasingly tumultuous rhythm section before the tune shifts to a rhythmically displaced backbeat. Adam Rogers’ layered guitars, Taborn’s B-3 and Alessi’s long, rich tones take the tune out, suggesting a different kind of folksy Americana.

Colley makes the complex accessible on the spacious “Masoosong,” featuring Gregoire Maret, the most important harmonica player since Toots Thielmans. “Feign Tonal” opens with a start-stop post bop theme before dissolving into more angular freedom, only to magically blend the two at its conclusion. Andrew Hill's “Smokestack,” on the other hand, starts with an impressionistic duet between Taborn and pianist Jason Moran, before settling into an unexpectedly relaxed take that seamlessly shifts between straight and double-time swing.

The group’s modernistic integration of acoustic and electric textures represents an increasingly popular aesthetic. Like his blend of traditional and contemporary harmonic and rhythmic concepts, Colley clearly doesn’t believe in mutual exclusivity. The beauty of Architect of the Silent Moment is its unequivocal sense of purpose, which avoids undue consideration and provides everyone with ample room to move.
02/02/07www.allaboutjazz.comJohn Kelman
Scott Colley: Music Architect
Scott Colley can be found adding his big-toned, always appropriate contra bass to a number of settings. He’s been a staple on the New York music scene for some time now, with older established musicians like Pat Metheny, Andrew Hill, John Scofield, Joe Lovano, Michael Brecker, Clifford Jordan, Herbie Hancock and many, many more. But also with colleagues like Ravi Coltrane, Chris Potter, Dave Binney or Craig Taborn.
He’s also recorded steadily, something many bassists can’t say. From 1996 to 2002, he had a new recording of his own nearly every year. He’s at it again with Architect of the Silent Moment released earlier this year on Cam Jazz, which displays his considerable writing talents, as well as a strong collaboration with a group of his peers. Colley seems to be growing as a writer and a bassist. The new music is strong in its concept. It doesn’t really carry a theme in one bag, but probes different feelings in different ways. It’s heady music, but not overly so.
Not Just Jazz
Besides, it’s all just music to Colley, when it comes to the wide variety of projects he’s been involved in as a leader and sideman. It’s not always “jazz” per se, and that’s OK too, even thought he was an admitted jazz snob growing up playing the bass in his native Los Angeles.
“I listen to a lot of different kinds of music. From my standpoint, I listen to a lot of different music and I like to allow different elements to come in as they will,” says Colley. “The things that I listen to today, the things I’ve listened to in the past, the emotions and experiences I’m having today, I want to be reflected somehow in the music.”
The new music demonstrates that. All compositions are by the bass player, except for Andrew Hill’s “Smoke Stack,” but even that is arranged with a unique twist. In compositions like “Usual Illusion,” “Strip Mall Ballet,” and “Window of Time,” the rhythm of Colley, pianist Taborn and drummer Antonio Sanchez can get intense—and not with a thousand notes from the session leader—and still, the melodies seem to ride on top, musical and imaginative, often carried out by Ralph Alessi’s inventive melodism and Taborn’s deft touch and artistic sense. Even Binney’s searching sax and Gregoire Maret’s outstanding harmonica get a chance to add to the colors sought by Colley. The bassist is superb throughout the session.
“During the process of recording and working on stuff I ask a lot of questions of the individuals I’m playing with, different ways to approach it, just to get different ideas,” says Colley. “Because the people that I play with, everybody involved in the project, are good friends and good musicians. I very much value their thoughts and input.”

View the complete interview, go to
26/03/07All About JazzR.J. DeLuke
Scott Colley
Natif de Los Angeles, c'est en France que Scott Colley a enregistré son premier disque, ”Portable Universe“, pour le compte du label Free Lance. Dix ans plus tard, cet ancien élève de Charlie Haden et de Fred Tinsley (contrebassiste de l'Orchestre philharmonique de L. A.) est devenu l'un des acteurs majeurs de la scène jazzy new-yorkaise, travaillant avec des gens aussi divers que Joe Lovano, Pat Metheny ou Herbie Hancock . Tout en s'investissant de plus en plus dans le domaine de la composition, car, aime-t-il à souligner: ”Avant d'être contrebassiste, je suis d'abord musicien.“ Affirmation qu'illustre à la perfection le contenu de cet ”Architect of the Silent Moment“, gravé avec le concours d'un robuste quartette (Ralph Alessi à la trompette, Craig Taborn au piano, Antonio Sanchez à la batterie) renforcé, au fil des plages, par Dave Binney (alto), Jason Moran (piano), Gregoire Maret (harmonica) et Adam Roger (guitare). Tous attentifs à respecter l'univers éthéréen cher à leur leader, lequel s'est approprié une célèbre maxime de son modèle Paul Chambers: ”Ne jamais jouer une seule note qui puisse paraître superflue.“
31/03/07LiberationSerge Loupien
SCOTT COLLEY Architect of the Silent Moment
L’exubérance, la richesse mélodique et harmonique donnent dès "Usual Illusion" le sentiment d’assister à la renaissance de Weather Report. Dans ce quartette dont la configuration est on ne peut plus classique, Craig Taborn aux claviers, Ralph Alessi à la trompette, Antonio Sanchez aux drums et le leader Scott Colley à la contrebasse, domine l’impression que chaque musicien bénéficie d’une totale liberté. Or l’emprise de Colley qui fût sideman de Herbie Hancock, de Pat Metheny et de Jim Hall, s’avère déterminante. Sa musique est résolument contemporaine, mélodieuse, swingante. Lave incandescente et douceur du miel chaud. Les invités ne sont pas timides : Dave Binney aux saxos, Jason Moran au piano, Grégoire Maret à l’harmonica et Adam Rogers à la guitare. La dernière plage "Window Of/Time", cette "Fenêtre du temps", s’ouvre sur un solo de contrebasse qui nous laisse entrevoir un futur radieux pour cette musique superbe.
16/04/07La StradaPierre Lapijover
Architect of the Silent Moment - 4 stars out of five
Conosciuto per le prestigiose partnership con Jim Hall, Herbie Hancock, Andrew Hill e con altre personalità del jazz, Scott Colley ha firmato un album nel quale emerge un modo di fare musica basato su composizioni originali di natura eterogenea, ma tutte pensate per creare un climax espressivo sul quale sviluppare un’intensa conversazione musicale con i suoi partner. Cioè con il trombettista Ralph Alessi, il pianista e tastierista Craig Taborn ed il batterista Antonio Sanchez, a cui si aggiungono ospiti quali il pianista Jason Moran, l’armonicista Gregoire Maret, il sassofonista Dave Binney ed il chitarrista Adam Rogers.
20/04/07Musica e DischiMaurizio Franco
Architect of the Silent Moment
Un pezzo di downtown newyorchese trasferito sulle sponde del Tevere che, durante il tragitto virtuale, perde asperità e frenesie tipiche della grande mela per assorbire la gioiosa indolenza capitolina. Potrebbe essere questa la fotografia di presentazione di Architect of the Silent Moment, l’album licenziato dal quartetto del compositore e contrabbassista Scott Colley, supportato per l’occasione da una manciata di prestigiosi ospiti.

Ma se le assai apprezzate qualità tecniche del contrabbassista hanno avuto modo di emergere in più di 150 incisioni con i maggiori musicisti del panorama internazionale, in questo debutto per l’etichetta romana Scott Colley mostra grandi doti di leader e di organizzatore di suoni. Nonostante la presenza di eccellenti solisti quello che colpisce maggiormente durante l’ascolto dell’album è una sorta di suono orchestrale del gruppo, non tanto per la sfarzosità degli arrangiamenti o la potenza dei volumi quanto per la ricchezza e la varietà timbrica, la naturalezza nell’uso di scansioni metriche anche irregolari, un respiro quasi sinfonico nell’utilizzo degli unisoni.

Certo qualche riferimento non troppo velato ad atmosfere care a Pat Metheny (la presenza dell’armonicista Gregoire Maret e del batterista Antonio Sanchez, due abituali collaboratori del chitarrista, non è casuale) compare qua e là, ma Architect of the Silent Moment è un disco con il marchio chiaro e definito di Scott Colley. Una originale miscela di elettrico e di acustico combinata con fluidità e grande souplesse, nella quale un accenno di swing boppistico si trasforma in garbata improvvisazione collettiva, il richiamo del blues subisce le accelerazioni del rock e si ingentilisce con le cadenze del jazz.

Un piccolo gioiello di buon gusto e di musicalità.
24/04/07 Roggero
SCOTT COLLEY Architect Of The Silent Moment
Conosciuto per le prestigiose partnership con Jim Hall, Herbie Hancock, Andrew Hill e con le altre personalità del jazz, Scott Colley ha firmato un album nel quale emerge un modo di fare musica basato su composizioni originali di natura eterogenea, ma tutte pensate per creare un climax espressivo sul quale sviluppare un’intensa conversazione musicale con i suoi partner. Cioè con il trombettista Ralph Alessi, il pianista e tastierista Craig Taborn ed il batterista Antonio Sanchez, a cui si aggiungono ospiti quali il pianista Jason Moran, l’armonicista Gregoire Maret, il sassofonista Dave Binney ed il chitarrista Adam Rogers.
14/05/07Musica e DischiMaurizio Franco
Scott Colley architect of the silent moment – three stars
Although there is nothing hip-hop about it, bassist Scott Colley’s “Architect Of The silent Moment” is as unrelentingly contemporary and urban as any rap recording. There is a buzzy intensity in the way Craig Taborn’s electric keyboards intersect with the background instruments and how Antonio Sanchez’s drumming tumbles and thrashes, shifting directions like a jockeying taxi.
all this nervous-making release of energy can be wearing, but it also focuses the attention on details. In that regard, Colley’s band pays dividends, especially the painterly trumpet work of Ralph Alessi and the way Sanchez can make certain percussive sounds pop out of his roiling barrage. The latter is most effective on “Windows Of Time”, a piece that is oddly bifurcated by a funky bass theme and Adam Rogers’ hypnotic guitar line.
As a collection of work, “Architect” is most effective in the way it keeps the listener guessing. Odd, unexpected elements like the burst of atonal sax/trumpet jousting on “Feign Tonal” or the smeary duet between Taborn’s electric and Jason Moran’s acoustic piano on Andrew Hill’s “Smoke Stack” abound.
01/06/07DownbeatJames Hale
Scott Colley architect of the silent moment - four stars
One could say that there’s a particular feel to certain New York jazz records. The blend of melodic eloquence and rhythmic aggression, inventive meter and harmony and above all the subtle integration of rock, ambient and classical influences that avoid fusion or Third Stream clichés can be heard in a number of recent releases. Music by such as Chris Potter, Adam Rogers, Uri Caine and of course David Binney all display a similar range of vocabulary. It may have something to do with the fact that a sense of community has grown up around the 55 Bar in the West Village where, like a lot of the aforementioned, Colley has also played. The presence of Binney as well as the highly original keyboard player Craig Taborn on this excellent set flags up that community again. Which means melodic eloquence and rhythmic aggression, inventive meter and harmony and above all the subtle integration of rock, ambient and classical influences that avoid fusion or Third Stream clichés. There are good performances all round about Alessi in particular stakes a strong claim as the trumpeter who really should have had more plaudits by now. His elegiac manner recalls Ron Miles and his tonal control is flawless in a Booker Little kind of way. “Architect” is very much a group record though that celebrates a contemporary jazz language that draws on many traditions, from the prickly postmodernism of Byard and Hill to the time-stretch imagination of M-Base and Afro-Asian classical music. Its richness of conception is matched only by a skill of execution from New York’s finest.
01/06/07JazzwiseKevin Le Gendre
SCOTT COLLEY architect of the silent moment
Al gruppo abituale del bassista (con Alessi-Taborn-Sanchez) si aggiungono ospiti in alcuni brani. La musica aderisce alle convenzioni risapute dell’hard pop e post pop ma con vari ingredienti estranei, ulteriori sapienti coloriture che mantengono l’omogeneità generale: per esempio in “El otro” e “Feign Tonal” l’uso di avanzate forme free arricchisce l’assunto senza suonare incoerente; oppure in “Strip Mail Ballet” e nello strepitoso “Masoosong” l’armonica trasforma il “mood” malinconico consustanziale allo strumento in pura energia, creando grande tensione. Tranne “Smoke Stack” di Andrew Hill (dove Taborn al piano elettrico e Moran all’acustico dettano deliziosamente), i temi – impegnative e minuziose partiture con forme insolite e metri dispari – sono di Colley, che si conferma contrabbassista con i fiocchi, contribuendo assieme a Taborn e Sanchez alla formazione di un magma ritmico dal rigoglio inquieto; anche Binney è bravissimo (ascoltarlo al soprano in “From Within” stordisce) ma è soprattutto magnifica la prova di Alessi, fra i trombettisti più originali e ferrati in attività (sulla linea Booker Little – Don Cherry – Dave Douglas): nelle battute iniziali di “Window Of Time” spiazza con un amplissimo vibrato sulle note medio-basse per poi articolare un assolo logico e teso con contrapposizioni sapide fra i registri estremi.
Il brano e il disco si concludono – o meglio restano in sospeso – su una coda di un paio di minuti in cui si cambia improvvisamente genere, fossilizzandosi su un ossessivo ritmo funky che contrasta con una chitarra folk.
07/06/07Musica JazzAldo Gianolio
SCOTT COLLEY architect of the silent moment – three stars
Scott Colley a réuni pour ce projet une “dream team” d’instrumentistes new-yorkais qui lui sont familiers. Sa contrebasse est placée au cœur de l’orchestre et au centre des compositions (qu’il signe toutes, à une exception près). Avec le batteur Antonio Sanchez et le pianiste Craig Taborn, il construit une solide architecture rythmique qui offre beaucoup d’espace aux solistes et incite à l’exploration instrumentale. Nous sommes impressionnés par la fougue et l’inspiration des chorus du trompettiste Ralph Alessi (en particulier sur “Usual Illusion”). Sur chaque morceau, la présence d’invités permet d’étoffer la texture musicale du quartette. Le saxophoniste Dave Binney nous gratifie d’un solo de soprano explosif sur “From Within”. Jason Moran est sollicité pour un dialogue entre son piano acoustique et celui, électrique de Craig Taborn (“Smoke Stack” d’Andrew Hill). On différencie très bien les deux pianos. Ils s’attirent mutuellement sur un double chorus parallèle, qui restera l’un des moments forts de l’album. Incontestablement, le soliste invité que l’on remarque le plus, est l’harmoniciste Grégoire Maret. Sur “Masoosong” et surtout “Strip Mall Ballet”, il fait preuve de qualités musicales inouïes et d’un lyrisme flamboyant, rarement atteint sur cet instrument. Enfin, sur deux chorus de contrebasse, Scott Colley exprime pleinement sa notion “d’architecte du moment silencieux” qui donne son titre à l’album. Ce disque est son sixième en leader, et Cam Jazz, son sixième label ! Espérons que ses qualités inciteront l’excellent maison de disque italienne à poursuivre cette collaboration.
07/06/07JazzmanLionel Eskenazi
Scott Colley Architect of the silent moment
Un climat planant (“Usual Illusion”) ou des tutti obstinés sur un mélopée tarabiscoté comme on les aime ? (“Strip Mall Ballet”) Y a qu’a demander. Avec Scott Colley on est toujours bien servi et rarement déçu.
Le bassiste est ici entouré d’une formation étincelante ou l’harmonica de Grégoire Maret choruse avec la trompette de Ralph Alessi.
On songe parfois à Mingus (“Architect of the silent moment ”, “Freight Tonal”) et cela semble assez normal via la scrupuleuse présence, au-delà de l’apport rythmique, d’Antonio Sanchez aux drums qui est aussi pertinente que celle d’un Dany Richmond.
Ça sonne comme un big band et syncope tout ce qui tombe sous le sens.
Celui qu’on préfère : l’ouie.
01/04/07La Marseillaiseeditorial
SCOTT COLLEY Architect Of The Silent Moment
Il primo cd “italiano” del contrabbassista di Los Angeles si segnala sin dalla prima track, dall’incipit vagamente psichedelico e dalla scansione ritmica circolare e ipnotica, per la spazialità del suono, un respiro che si avverte per tutto l’ascolto e tiene accesa l’attenzione su un lavoro davvero pregevole. L’abituale quartetto (Alessi alla tromba, Taborn alle tastiere, Sanchez alla batteria) si arricchisce di volta in volta dell’obliqua fantasia pianistica di Jason Moran (gustoso il duetto al piano acustico ed elettrico in “Smoke Stack”), dei ricami all’armonica di Grégoire Maret (impressionante l’assolo in “Strip Mall Ballett”, toccante in “Masoosong”), della chitarra di Adam Rogers (solenne in “Window Ot Time”) e dei sax di Dave Binney, che contribuisce anche alla produzione artistica a fianco del leader, solista autorevole.
10/05/07Jazz Magazineg.c.
SCOTT COLLEY Architect Of The Silent Moment
Dans les notes du livret, le pianiste David Ake (également musicologue et auteur d’un essai critique fort instructif, “Jazz Cultures”, 2002) commence par un plaidoyer pour l’enregistrement phonographique, ce médiateur de tradition sans frontières. Brisant élégamment le mythe du jazz live, Ake convainc facilement le lecteur de s’intéresser aux “moments silencieux” orchestrés par le contrebassiste Scott Colley – en studio, on l’aura compris. “Moments délicieux”, s’empresse-t-on de rectifier après écoute. L’expression perd en grâce, mais gagne en spontanéité, composante précieuse malheureusement trop rare dans cet album. De la musique des mots passons à la grammaire sensible de Colley, compositeur averti et fin mélodiste à la “quatre-cordes”. Du quartette (Ralph Alessi, Craig Taborn, Antonio Sanchez) à l’octette (Dave Binney, Jason Moran, Gregoire Maret, Adam Rogers), Colley mène son monde en souplesse et révèle entre les lignes ses talents d’architecte sonore. Héritier de Paul Chambers, il privilégie les formes épurées et ne s’embarrasse pas de fioritures. Les motifs brefs et denses tournent jusqu’à se fondre en combinaisons sonores hypnotiques auxquelles les métriques impaires donnent une couleur moderne (“Usual Illusion”, “Strip Mall Ballet”…). Nourri au jazz militant de Charlie Haden, “grandi” au contact du regretté Andrew Hill (auquel il emprunte ici le thème “Smoke Stack”), côtoyant aussi bien Jim Hall, Roy Haynes et Mike Stern qu’Herbie Hancock, Scott Colley est là où l’essentiel se joue. Mieux que cela, il sait faire fructifier ce legs magnifique dans le terreau de son époque. Une génération s’exprime ici, nouvelle tête de file des musiques improvisées que l’on nomme aussi jazz. Une lignée d’esthètes dont ce disque est déjà un précieux témoignage.
10/06/07Jazz MagazineLorraine Soliman
SCOTT COLLEY Architect Of The Silent Moment
Il titolo dell’album è già sufficiente a illustrare senza rischio di fraintendimenti le principali peculiarità lessicali di Scott Colley. E’ una sorta di manifesto dell’estetica del contrabbassista statunitense, coincidente, non a caso, con l’essenza della filosofia cara a Monk, fondata in primo luogo sul rispetto delle pause, sul respiro delle frasi, sull’oculato utilizzo del silenzio (trattato come una nota musicale aggiuntiva).
In questa occasione, Colley realizza una delle sue opere migliori nei panni da titolare, ed è significativo che lo faccia per l’eccellente Cam Jazz, una delle più interessanti e produttive label nostrane, che negli ultimi anni ha evidenziato dei progressi esponenziali, sia in termini di direzione artistica, sia per l’accurata definizione sonora e la solare veste grafica. Colley ha voluto al proprio fianco partner di assoluto prestigio internazionale: il trombettista Ralph Alessi (ex Steve Coleman), il sassofonista David Binney e il chitarrista Adam Rogers (entrambi, membri fondamentali dei Lost Tribe), il tastierista Craig Taborn (ex Dave Douglas, Steve Coleman e Susie Ibarra), il batterista Antonio Sanchez, il pianista Jason Moran e l’armonicista Gregoire Maret. L’unico non autografo dei nove brani di “Architect Of The Silent Moment” appartiene al songbook del geniale Andrei Hill (“Smoke Stack”), settantenne pianista post-monkiano. Le lucide strutture ideate dal contrabbassista ci conducono in profumati territori dominati da un freschissimo “modale del terzo millennio”, da equilibrati impasti elettroacustici, da composizioni ora calde, avvolgenti e lineari, ora sghembe e puntute. Bastano il magnetico caos organizzato di “Feign Tonal” e il lirismo impressionista di “Window Of Time” per raccomandare quest’ottimo compact.

Commento tecnico:
qualità musicale: 8.5
qualità tecnica: 10
10/03/07AudioreviewEnzo Pavoni
Architect of the Silent Moment
For bassist Colley’s “Architect of the Silent Moment”, a conceptual construct (more poetically, a fantasia) for small ensemble, the oft-quoted dictum has rarely seemed more apposite: “Less is more.” Colley starts with a core quartet of Ralph Alessi (trumpet), Craig Taborn (keyboards) and Antonio Sanchez (drums), and guests emerge and disappear throughout the subtle, largely written, 54-minute work. Dave Binney’s alto fleshes out dodge-and-weave frontlines that recall Shorter/Davis, and wails his lone caterwaul on “From Within.” Mouth-harpist Gregoire Maret limns unisons with Binney and/or Alessi at times, and hits a sweet spot on the evocatively titled “Strip Mall Ballet.”
Surprising ensemble turns bookend the album and pop up as curious diversions to break up the genial yet ingenious soundscape (two three-minute tracks of gritty free-blow by Alessi and guest pianist Jason Moran precede a Rhodes ‘n’ piano pedal fade). The title track recalls one of those wistful, angular energy spins of Kenny Wheeler; here Colley gives us his only solo that soon duos with Moran; the ensemble re-peaks and gives way to Maret in a rebuild of majestic heraldry atop Sanchez’ crafty underpinnings.
Initial regret for a perceived lack of solos soon gives way to enjoyment exploring cumulative and unrepeated group textures. Towards the end, the band wittily conjures the late Andrew Hill in a quietly understated but all-hands-on-deck “Smoke Stack.”
21/09/07allaboutjazz.comFred Bouchard
Ancora un jazz vitale e non comune proposto da Cam Jazz, etichetta romana che cresce e prosegue un percorso di qualità che la sta portando a livelli alti. Stavolta è il turno di Scott Colley, contrabbassista che ha però la capacità di organizzare il suono della band, orchestrarlo, dare contenuti e forme nel contempo comportandosi non solo da leader di un classico ensemble jazz, ma anche da “direttore d’orchestra” nel senso della costruzione di un soundscape, di una trama sonora che non è solo l’esecuzione del brano e l’assegnazione dei ruoli, su una strada che per certi versi possiamo affiancare mentalmente ad altre figure di spicco nel contrabbasso, quali sono state nel passato ad esempio Mingus o, nell’attualità, William Parker. LA struttura sonora di questo disco è importante per capirne il significato, che è quello di un progetto complesso in cui il concepimento del tema, la sua proposizione musicale, l’improvvisazione hanno valore tanto quanto l’abilità di dar corpo ad uno spazio sonoro ampio, concertato, in cui gli strumenti sembrano essere ben più del quartetto (con l’aggiunta di vari ospiti) che in realtà è voce di questo lavoro. Colley viaggia determinato e solidamente con Ralph Alessi alla tromba, Craig Taborn alle tastiere e il “metheniano” e straordinario Antonio Sanchez alla batteria. La complessità di questa musica trova nella compattezza e fluidità dell’esecuzione un biglietto da visita che promette e mantiene. Non per tutti, ma affascinante e ricco di idee.

Commento tecnico:
qualità musicale: 7,5
qualità tecnica: 8
10/10/07SuonoPier Luigi Zanzi
Un título tan ampuloso como éste marca ya las expectativas sobre su contenido. Scott Colley ha reunido un equipo con afinidades por la precisión instrumental y por temas de complejas líneas melódicas y desarrollos estructurales para realizar un álbum que bascula entre lo impresionante y lo ermético, lo absorbente y el ingenio sofisticado. Al escuchar cualquier corte del álbum resulta evidente cuánta capacidad requieren y cuánto trabajo acarrea ponentos a caminar. Otra cosa es que piezas como la que da título al CD, o “Window of Time” resulten recónditas, herméticas, en su dirección y engranaje. Hay otras, como “Masoosong” (con ecos del Pat Metheny Group), de gran poder melódico, o “Usual Illusion”, “Strip Mall Ballet” o el original arreglo de “Smokestack” de Andrew Hill, que se enseñorean en el poder instrumental del grupo, con soberbias aportaciones de un clínico Alessi o de Maret.
15/05/07Cuadernos de jazzA. Gómez Aparicio
Scott Colley Architect of The Silent Moment
Une bande de new-yorkais, qui jouent régulièrement ensemble sur la place, se retrouvent pour jouer la musique du très demandé Scott Colley. Ce contrebassiste a travaillé avec des stars du jazz, telles le guitariste Pat Metheny et le pianiste Herbie Hancock. L’album a une coloration propre, un fil conducteur très naturel, sans couture, “organic”, comme disent les musiciens là-bas. Avec son fidèle batteur Antonio Sanchez, Scott Colley s’est entouré d’un noyau dur composé du trompettiste Ralph Alessi et du pianiste Craig Taborn. À ce quartet viennent se greffer des invités stars, elles aussi, comme le très créatif Dave Binney au sax alto, le pianiste Jason Moran et le formidable guitariste Adam Rogers. On notera la présence de l’harmoniciste Gregoire Maret dont l’instrument est rarement utilisé dans un contexte jazz et qui, ici, donne un éclat particulier à la musique puisqu’il fait le lien mélodique entre les différents morceaux. Entre mélodies attrayantes, chorus doux ou bien puissants et solides, portés par des métriques dangereuses pour l’oreille, on ne s’ennuie pas, on ne se rend compte de rien. La technique habilement mise au service du talent, c’est peut-être ça la classe !
23/09/07Blues Again!Jérôme Gransac